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It should also be noted that in the ecclesiastical version of the unbelieving Thomas, Christ's thigh is covered, whereas in the secular version of the painting, Christ's thigh is visible. The light falling on Christ emphasises his physicality and at the same time suggests his divinity and significance to the viewer.
In images where the creatures surround Christ, the winged man and the eagle are often depicted at Christ's sides, with the lion and the ox positioned lower by his feet, with the man on Christ's right, taking precedence over the eagle, and the lion to the left of the ox. These positions reflect the medieval great chain of being. [25]
The Incredulity of Saint Thomas by Caravaggio, c. 1602. A doubting Thomas is a skeptic who refuses to believe without direct personal experience – a reference to the Gospel of John's depiction of the Apostle Thomas, who, in John's account, refused to believe the resurrected Jesus had appeared to the ten other apostles until he could see and feel Jesus's crucifixion wounds.
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.
Crucifixion with Mourners and St Dominic (c. 1436) by Fra Angelico. Crucifixion with Mourners and St Dominic is a fresco fragment by the Italian early Renaissance painter Fra Angelico, executed c. 1435, from the refectory of the Convent of San Domenico, Fiesole, now in the Louvre.
The various versions of the Man of Sorrows image all show a Christ with the wounds of the Crucifixion, including the spear-wound. Especially in Germany, Christ's eyes are usually open and look out at the viewer; in Italy the closed eyes of the Byzantine epitaphios image, originally intended to show a dead Christ, remained for longer.
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In Early Netherlandish painting of the 15th century the three crosses often appear in the background of the painting, a short distance from the scene. Gerard David - Lamentation Lamentations did not appear in art north of the Alps until the 14th century, but then became very popular there, and Northern versions further developed the centrality ...